Popular consensus has long been that if "enough women" are present in political institutions they will represent "women's interests." Yet many believe that differences among women--women disagreeing about what is in "their interest"--fatally undermine both the principle and the practice of women's group representation. In this book, Karen Celis and Sarah Childs redress women's poverty of political representation with a new feminist account of democratic representation. Rather than giving up on women's group representation, Celis and Childs re-think and re-design representative institutions, taking women's differences--both ideological and intersectional--as their starting point. Feminist Democratic Representation considers a broad spectrum of contemporary problematics--abortion, prostitution/sex work, Muslim women's dress, and Marine Le Pen--to discuss women's under- and misrepresentation and the "good, bad and the ugly" representative. As problem-driven scholars firmly grounded in feminist and democratic empirical and theoretical political science, Celis and Childs imagine what good representation for women in all their diversity could look like--representation as it should be. To realize this ideal in today's established representative democracies, they present a second-generation feminist design for parliaments and legislatures, underpinned by a re-thinking of feminist and democratic principles. Celis and Childs conceive of representation as a mélange of dimensions, and they shift the focus in women's group representation from feminist outcome to feminist process. Inclusive, responsive, and egalitarian representation for all women demands a new category of representatives in parliaments: the "affected representatives of women" who are epistemologically and experientially close to differently affected women. Affected representatives passionately advocate within political institutions, and publicly hold elected representatives to account. Feminist processes of representation have wide effects and deepen relationships between women and their democratic institutions. Against the more fashionable tide of post-representative politics, Feminist Democratic Representation argues not simply for more, but significantly better, representation.

The first three decades of the twentieth century saw the New Woman writing an astonishing array of dramatic presentations. This checklist, gleaned from hundreds of library collections and out-of-print anthologies, reveals over 12,000 plays by perhaps 2,000 American women. Some of these works are well known, most are not; some are of enduring literary quality, probably most are not; but all are of social significance and serve to document women's history of the period. Included in a broad definition of play, are dramas and comedies, musicals, farces, monologues and dialogues, pageants and masques, stunts and exercises, operas and cantatas. In addition to adult drama, there are numerous plays written for children and for holiday celebrations. A vast amount of dramatic material was written for amateur theatre, school and church productions, and community events. The sheer volume of these mostly unrewarded contributions is noteworthy, and this checklist should be consulted by researchers in women's studies as well as drama. Playwrights include such noted writers as Susan Glaspell and Zora Neale Hurston in addition to many unremembered women, some of whom have entries for scores of plays. The playwrights are listed in alphabetical order with their works following. Information is given on life dates as known, and the playwrights are keyed to inclusion in major biographical reference books if relevant. The type of dramatic presentation and number of acts is indicated, as is production and publication information as available; and, in almost all cases, at least one library or anthology source is given, coded to a list in the front of the book. Appendixes record contributions to several anthologies, and a selected bibliography completes the work.

Focusing on images of or produced by nineteenth-century European women, this volume explores genteel femininity as resistant to easy codification vis-à-vis the public. Attending to various iterations of the public as space, sphere and discourse, sixteen essays challenge the false binary construct that has held the public as the sole preserve of prosperous men. By considering works in a range of media by an array of canonical and understudied women artists, they demonstrate that definitions of both femininity and the public were mutually defining and constantly shifting.

Focusing on images of or produced by well-to-do nineteenth-century European women, this volume explores genteel femininity as resistant to easy codification vis-?is the public. Attending to various iterations of the public as space, sphere and discourse, sixteen essays challenge the false binary construct that has held the public as the sole preserve of prosperous men. By contrast, the essays collected in Women, Femininity and Public Space in European Visual Culture, 1789-1914 demonstrate that definitions of both femininity and the public were mutually defining and constantly shifting. In examining the relationship between affluent women, femininity and the public, the essays gathered here consider works by an array of artists that includes canonical ones such as Mary Cassatt and Fran?s G?rd as well as understudied women artists including Louise Abb? and Broncia Koller. The essays also consider works in a range of media from fashion prints and paintings to private journals and architectural designs, facilitating an analysis of femininity in public across the cultural production of the period. Various European centers, including Madrid, Florence, Paris, Brittany, Berlin and London, emerge as crucial sites of production for genteel femininity, providing a long-overdue rethinking of modern femininity in the public sphere.

In a book that is both a critical analysis of contemporary society and the record of a feminist intellectual odyssey, Ann Ferguson, one of the most influential socialist-feminist theorists, develops a new theory of social domination. Tracing the development of socialist-feminist theory from its roots in the politics of the New Left to its present p